Thanks to the suggestions in the "Technique" forum for helping me with the LH broken octaves in the 3rd mvmt.This had a different opus number when I was young - 47 (I'm using the Clementi sonata collection book from my childhood). I do not know the story behind the renumbering of the opuses which has apparently taken place in the last xx years.The first mvmt cadenza is by Clementi himself - something I found on the web (IMSLP). There is no indication that he ever used it with this sonata, but then I was unable to find out which one he did use.This is a famous sonata because Mozart is known to have heard Clementi play it some years before he wrote The Magic Flute, whose overture is reminiscent of the first mvmt's theme.

5'10" petroff with the lid all the way up. Zoom H2 recorder. The only edit is the use of Audacity 2.0.4's new "reverb" feature. This time I bumped up the "reverb" percentage to 35, which is about as high as I'd want to go with classical-era music. (The "room" setting is 80%, whatever that means.)

I'll admit that I sacrificed a little musicality in the first mvmt in order to record it at 144, which is the usual tempo. Since it's our first recording of this historically important sonata, I thought it should be at this speed. I usually play it 132-138, at which tempo I can make a little more sense of the phrasing.

Wow, Stewart! This is great!! You know...when you haven't heard someone play very much in awhile, and then you hear them play again, like with me listening to you now...well...I am just very impressed with how well you play!! (does that make sense?)

Clementi always sounds like Clementi, doesn't he? I like his music.

Anyway, this sonata is up on the site. I had to add the names of the movements on your tags. Please check the links.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Nice sound, appropriate for the music and full of nice clear runs and articulation. Ironically, the only small problem I spotted in the broken octaves in the third movement appeared to be in the rh immediately after the lh octaves (first time round)! Well played.

I've listened to the 1st movement and it is well played. Some dynamics would be nice, for example to hear the crescendo building up to forte at the beginning. The chords in bar 4 (and similar later on) sound rather half-hearted, neither together or properly rolled. I'd say make a bit more of these arpeggios, and take your time for them.

This isn't music with a great deal of subtlety, but it's awfully good fun.Very well played with great energy. And of course it's nice to hear the results when someone has overcome a technical obstacle. Thank you for sharing it with us!

Very nice! Extra plus for nice articulation throughout. I liked the first movement best, in particular the development section. The second sounds a little but harsh but it could the recording (or my speakers, or my ears...). Not very much drama but quite charming.

Thanks, everyone.Sorry this took so long, but I'm busy practicing another Clementi sonata! I don't know why they're so much fun to play. But I'm not thinking about it, just taking a vacation from Sturm und Drang.

This is a very beautiful piece of music. For the most part, I found the performanceto be interesting and pleasant with hints at drama and joviality.

The playing is for the most part good and improves as you go along.In the first movement perhaps the opening could use a bit more shading i.e. subtly softernotes at the beginning of the scale like passages, the first note in a motif, would createa more musical and emotional opening.

The developing section has more shading than the opening with singing qualities asdoes the reprise of the theme. There is more expression as the piece goes on.

The second movement is expressive with amazingly clear embellishments. There arelovely articulations throughout. The phrases are thoughtfully expressed. The executionof the structure is memorable. The ever so subtle pauses before beginninga new idea are very effective. There is also a charm to the expression.

Kaila,Thanks for listening. The story of the first movement: I had recorded it last May so I could practice other music in preparation for recording. After getting the piano tuned, I listened to a recording of the sonata, and realized that everyone else plays it noticeably faster than the recording I had done. So I re-recorded it at 12 beats per minute faster than I had been playing it, and was lucky just to get the notes in.If I had gone back and practiced it, I'm not sure that the piano would have stayed in tune long enough, and I can afford only about 4 tunings per year. (My piano stays in good tune only 2-3 weeks.) An unfortunate circumstance, but I think the recording was "passable". This cycle, I chose a Clementi for which there are many recordings available and actually listened to a few to ensure that my tempos are in line with historical practice. Since I'm a newcomer to this and other not-so-famous classical composers, I should have done this earlier.

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